Jan 31, 2012

Enables first feature film to use ARRIRAW format to store data for post-production

EFILM already had a long established working relationship with ARRI, and the virtual pipeline in place that could accommodate the project, when they were approached by the filmmakers to undertake this first-of-its-kind venture. It was veteran cinematographer Chris Menges's initial foray into digital cinematography and he wanted a very filmic look. Dailies were produced at Deluxe, New York and the look was set during the dailies process per Menges's direction.

That was the starting point for the EFILM Image Science Team whose seamless workflow, from capture to post, preserved every bit of information in the ARRIRAW image files throughout the process. The raw files were de-Bayered and an input device transform was applied, converting them into EFILM’s universal color work space. This mirrored the Dailies imaging pipe, allowing for the 'look' metadata that had been created during the dailies process to be applied.

“Shooting with the Alexa was like a trip into the future. The experience of working with Deluxe, EFILM and Company 3 was superb,” says Chris Menges.

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